Ep. 17: Why Your Art Isn’t Selling (and How to Fix It) with Brooke Glaser

Summary

Art + Audience Podcast: Ep. 17 – Why Your Art Isn’t Selling (and How to Fix It) with Brooke Glazer

Released on December 24, 2024

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Introduction

In Episode 17 of the Art + Audience podcast, host Stacie Bloomfield sits down with renowned illustrator and educator Brooke Glazer to delve into the common pitfalls artists face when trying to sell their work and the strategies to overcome these challenges. This episode is a treasure trove of insights for artists striving to transform their passion into a profitable and sustainable career.

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Brooke Glazer: From Struggles to Success

Background and Early Challenges

Brooke Glazer opens up about her tumultuous journey in the art world. Despite her talent, she faced significant hurdles right after college:

"[...] I graduated into a recession and no one was going to hire me to do the kind of artistic work that I wanted to do." ([03:44])

Determined to pursue her passion, Brooke embarked on her first business venture—creating handmade greeting cards. While she achieved some success, getting her products into seven stores across two states within a year, she grappled with scalability and financial sustainability.

Lessons from Initial Failures

Brooke candidly shares her early mistakes, emphasizing the critical lesson that quantity does not equate to quality:

"Quantity does not equal quality. [...] That woman had an extremely curated, small collection of great work, whereas I had a bunch of work that was just really varying quality." ([08:10])

This realization became a turning point, steering her towards a more strategic approach in her artistic endeavors.

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The Trade Show Experience: A Crucial Learning Curve

Expectations vs. Reality

Brooke recounts her experience attending a high-stakes trade show in New York City, where she expected to make significant sales:

"By the second day of the show, the woman across from me who only had a handful of pieces, had almost sold out of her art while I had failed to sell a single piece." ([00:48])

This initial setback was a devastating blow, leading her to question the viability of her business model.

Analyzing the Failure

Instead of succumbing to despair, Brooke adopted a reflective approach:

"What was the difference between me and that woman who was across from me that had so few pieces?" ([07:06])

Through this introspection, she identified the importance of a curated portfolio and the pitfalls of overcrowding her booth with mediocre work.

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Strategic Transformation: Quality Over Quantity

Curating a Targeted Portfolio

Brooke shifted her focus to showcasing a select number of high-quality pieces tailored to her target market. She illustrates this with her collaboration with a children's apparel company:

"I developed a couple of pieces, really basic. They weren't, like, super, super fancy, but, you know, the theme was nursery rhymes. And I used really calm, neutral colors." ([09:02])

This strategic alignment with the client's brand aesthetics led to rapid sales and positive customer reception.

Thoughtful Client-Centric Creation

Stacie emphasizes the importance of understanding the client's ideal customer and creating art that resonates with them:

"You were so smart to think about, okay, what is the emotion that their customer, this baby apparel plays? What are their customers going to feel?" ([10:19])

Brooke agrees, highlighting the necessity of balancing personal artistic expression with market demands:

"I reuse elements of things. [...] Sometimes I have to adjust it a little bit so that it would work well for that company." ([12:42])

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Embracing Failure as a Learning Tool

Resilience and Adaptation

Both hosts underscore the inevitability of failure in the creative journey. Brooke reflects on her continued participation in trade shows despite initial setbacks:

"Learning to deal with failure is an essential thing to deal with as a professional artist or just like an artist in general." ([15:06])

She emphasizes the importance of perseverance and learning from each experience:

"Failure is just research unless you never try again." ([25:06])

Continuous Improvement

Brooke discusses her commitment to ongoing learning and adaptation, ensuring that each setback becomes a stepping stone to success:

"I learned how to do things better. By doing things I wasn't necessarily prepared to do." ([16:58])

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Educating and Empowering Fellow Artists

Illustrator's Launchpad Program

Brooke introduces her program, the Illustrator's Launchpad, designed to help artists enhance their skills and business acumen. She shares valuable resources aimed at improving artistic quality and business strategies:

"We help artists learn how to make good art because that's kind of the basis of it." ([20:13])

Teaching Curated Taste and Artistic Fundamentals

Stacie and Brooke discuss the importance of cultivating a discerning eye and mastering the fundamentals of drawing to create compelling art:

"Understanding the basics of how to draw anything really does set you forward to be able to create beautiful art." ([24:13])

Brooke elaborates on practical methods to streamline the art-making process, making it more efficient and effective:

"There are definitely methods that can speed that up for you." ([24:35])

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Key Takeaways and Conclusion

Strategic Focus and Quality Control

The episode reinforces the significance of prioritizing quality over quantity and tailoring one's work to align with client needs and market demands. Brooke's journey exemplifies how strategic adjustments can transform an artist's business trajectory.

Resilience and Continuous Learning

Embracing failure as a learning opportunity is crucial. Brooke's story is a testament to the power of resilience and the importance of continuous improvement in the face of adversity.

Community and Feedback

Surrounding oneself with a supportive community and seeking constructive feedback are essential for growth. Brooke highlights the role of collaborative environments in fostering artistic and business development.

Final Thoughts

Stacie wraps up the episode by encouraging artists to subscribe, share the podcast, and engage with their community for ongoing support and learning.

"Everything is just a learning process unless you only do it once." ([25:10])

Brooke's candid discussions and actionable insights make this episode an invaluable resource for artists seeking to enhance their sales and build a thriving art business.

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Notable Quotes:

• "Quantity does not equal quality." – Brooke Glazer ([08:10])
• "Failure is just research unless you never try again." – Brooke Glazer ([25:06])
• "Everything is just a learning process unless you only do it once." – Stacie Bloomfield ([25:10])

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For more insights and resources, visit Brooke Glazer's website and explore her YouTube channel for free tutorials and advice.

Transcript

[Stacey Bloomfield]

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[Brooke Glazer]

Bye. There were so many incredible artists there that had so, so much incredible art. I was like, oh, I might have trouble standing out here. By the second day of the show, the woman across from me who only had a handful of pieces, had almost sold out of her art while I had failed to sell a single piece. Oh, I mean, I was panicking. Was this like a massive, huge financial mistake? Had I spent almost a year saving up for this show only to end up like back where I started with nothing to show for it?

[Stacey Bloomfield]

Wouldn't it be nice if your art business loved you back? Hi.

[Brooke Glazer]

Hi.

[Stacey Bloomfield]

I'm Stacey Bloomfield. After years of trial and error and late night doodling, I went from being a coffee shop manager to running a vibrant seven figure art business that I love. And now I'm on a mission to help more artists create an art business that they love too. So I invite you to find a cozy spot, pull out your favorite sketchbook and listen in. It's never too late to chase your creative dreams. Welcome to the Art plus Audience podcast. Hello. Hello. Welcome back to the Art plus Audience podcast. I am so excited to be here with my good online friend, Brooke Glazer. Hi, Brooke.

[Brooke Glazer]

Hello. I'm excited to be here. Thank you for having me.

[Stacey Bloomfield]

I'm so excited to have you here too. Brooke and I have been getting to know each other, I think, for the past 2ish years online through a chat group that we're both a part of for artists who also like to help other artists grow, whether it's through their skills as artists and creatives or in their creative businesses. But I'm going to tell you a little bit about Brooke before I kick it off and let her share a bit of her story. So Brooke is a professional illustrator. You can find her work in places like Target on kids apparel, greeting cards, gift wrap, and more. She also teaches online classes, and she has helped over 270,000 artists level up their art in their creative careers. And she is an avid traveler. I'm so glad that you're here today, Brooke, because Brooke is someone who has a huge heart to help other artists grow like we've already talked about. So, Brooke, why don't you tell everyone a little bit more about yourself?

[Brooke Glazer]

Yeah. So most people know me from my classes on Procreate and my YouTube channel where I share advice on creating art and building a creative career. And over the last few years, I've been fortunate enough to work with Procreate, the iPad drawing app. But I definitely did not start out having these dream opportunities. When I graduated college, I graduated into a recession and no one was going to hire me to do the kind of artistic work that I wanted to do. But I wanted to be an artist so badly. And since no one was going to hire me. Stacy, I don't know that you know this, but I actually started my very first creative attempt at a business was making my own handmade greeting cards. So my first business was actually a product based business.

[Stacey Bloomfield]

Love it.

[Brooke Glazer]

But like, you know, it was my first business. I made so many mistakes and I think the biggest one of that was like, I quickly realized that what I was doing just could not scale. I was making these handmade greeting cards and it was so time consuming. And, you know, there's only so much you can charge for a greeting card. And, you know, there's this artist quote that I really, really love by the artist Adam JK and he says, failure is just research unless you never try again. And in hindsight, I did amazing with that business. I got into seven stores in two different states in less than a year. But at the time, I was kind of on my own doing this stuff. I knew a little bit like Etsy had a bunch of education on how to, like do things, but I felt kind of like a failure because I wasn't able to pay all my bills with my art. Like, I definitely got my pricing wrong. I was just constantly struggling because this was my first business. And at the time I was surrounded with a bunch of graphic and web designers. And so I got in my head, well, these people all have real jobs and they're real artists and they're able to pay all of their bills with their art. And, you know, they've got salaries and health insurance and all of these things. And so I was like, okay, if I want to be an Artist. And I want to, like, not, you know, having to have all these side jobs working in restaurants and bars. Then I guess I got to be a graphic designer. And so I decided to kind of like, abandon, like, where my heart was and go for that. But it turns out that no matter what you're trying to do, it can be a lot of work. And so I wasted years trying to get established as, like, a graphic and web designer. And I did do it, but it was still a lot of work. And I just thought that was the only way to make money. But I couldn't ignore this desire that I really wanted to be making my own art and not designing someone else's vision. And so I started getting involved, like, with other artists who were actively trying to become illustrators. And the more that I was kind of, like, surrounded in that world of people, I started to be able to, like, troubleshoot, you know, how could I run a business as an artist? How could I be an illustrator? How do people do this? And that's kind of how I learned about illustration trade shows. And so I kind of decided that was going to be the thing that I was going to do. I was going to exhibit at this very expensive trade show in New York City. Like, I got a side job to help me pay for things like the flights, hotel, the booth fee, the printed materials. It was more money than I had ever spent on my business. So I was so sure. Like, you know, you hear this is how everybody launches their careers. Because you hear these stories about how people make so, so much money at these trade shows. And so I spent like ages and ages just making, cranking out so much art because this would mean that I wouldn't have to spend all my time at a soul crushing job and I could send more time making art. And I felt so prepared. I got there, and the woman in the booth across from me had a total of, I think, like eight or ten pieces of art. And I remember feeling so proud of myself for the stacks of art that I had brought. I was so prepared for this. I was gonna sell so much art. And I remember just taking a stroll for the rest of the booths at the trade show, and I just got this, like, really, like, this sinking feeling in my stomach. There were so many incredible artists there that had so much incredible art. Like, I was like, oh, I might have trouble standing out here. And by the second day of the show, the woman across from me who only had a handful of pieces, had almost sold out of her art, while I had failed to sell a Single piece.

[Stacey Bloomfield]

Oh.

[Brooke Glazer]

And I was like, oh. I mean, I was panicking. Was this, like, a massive, huge financial mistake? Had I spent almost a year saving up for this show, only to end up, like, back where I started with nothing to show for it? And so I finished the show with a handful of emails for people who had shown interest in my art, but absolutely no sales. And I was devastated. I was like, how could I have gotten this so wrong? What was the difference between me and that woman who was across from me that had so few pieces? And you know, that a big part of, like, anything that I've done moving forward has been like, okay, how do I look at this? What went well? What didn't go well? What could I do differently? And what would I do differently next time? Like, I do a retrospective after every, like, major event? And probably one of the biggest takeaways that I realized was a lot of my pieces were good, but a lot of them were also just okay. And I had just absolutely packed my portfolio full of every single piece that I had ever made, just in case it might possibly interest someone. And quantity does not equal quality.

[Stacey Bloomfield]

Nope. You want to show your best work. Your best.

[Brooke Glazer]

Because it can be overwhelming for people trying to go through and sorting, like, you know, was this. Is this a good piece? Is that not a good piece? And it just kind of elevates when you have, like, a smaller curated amount of things that you show. And that woman had an extremely curated, small collection of great work, whereas I had a bunch of work that was just really varying quality. And so that was the biggest lesson that I learned from that particular one. And I think there's the idea of, like, right, you do 10,000 hours of work that you gotta spend years developing, you know, a signature style or perfecting your art. But I personally have found that it's not just about, like, just doing a mass of things. Like, just. Just do a bunch of stuff. Just do a bunch of stuff. Make a lot of work. Make a lot of work. When I have made significant progress is when I've gotten more strategic, focused on how and what I was doing with my art. Right?

[Stacey Bloomfield]

Yeah.

[Brooke Glazer]

So, like, there was a children's apparel company that I really wanted to work with, and I'd sent them a bunch of work, and they, you know, politely said, oh, thank you, but we're not interested in purchasing this work. And so with this in mind of, like, okay, if I'm a little bit more strategic, I don't have to make piles and piles of work. I can get more targeted about, like, what I'm going to send to people and what would work well for what I'm trying to do. So I thought, okay, if I'm a parent, what are some of the emotions that I might experience around dressing my child so smart? And I thought about bedtime, for better or worse, the experience of reading bedtime stories and those sleepy, calm, sweet feelings around, like, your baby drifting off to sleep. And I thought about nursery rhymes and evoking that sweet feeling of sleepy time. And so I thought of there's that nursery rhyme, hey diddle Diddle, and it talks about a cow jumping over a moon. And so I developed a couple of pieces, really basic. They weren't, like, super, super fancy, but, you know, the theme was nursery rhymes. And I used really calm, neutral colors. No flashy, bright colors, like, calm, sleepy colors. And that collection got snapped up so quickly.

[Stacey Bloomfield]

Love it.

[Brooke Glazer]

Not only did it sell well to that company, but it also sold super well to their customers as well.

[Stacey Bloomfield]

Well, it's because you really thought about it. So I think that what you just described is what we call, like, thinking about the client, the ideal customer for the art, and creating it for them. And so many people get really, really in the weeds when it comes to that. But really, you were so smart to think about, okay, what is the emotion that their customer, this baby apparel plays? What are their customers going to feel? And how do I create something with my voice and my art that can match that feeling? And there's something really incredible whenever the intention and the art kind of hit each other at the same level. You know what I mean? Like, your thoughtfulness and then your skill were probably, like, right here in the middle. That's so amazing, Brooke.

[Brooke Glazer]

Yeah. And on the other hand, like, one thing I did, you know, the trade show did not go completely to waste. Like, I'm still very glad I did it. And one of the things that I did on the follow up was, like, I really made sure that I was sending, like, following up and emailing the people who had shown an interest and making sure that I was sending them examples of very curated, what would go well for what they're doing, whatever the business was. And I think, like, you know, I don't want people to feel like, oh, you only can be strategic about your work. You can't, like, you know, just make whatever you want. Because that also is not 100% true. Because there are times when I have, like, made something that I was just like, I really am excited to make this thing. And then instead of just trying to Send it to anybody. I just got more strategic about, like, who am I going to send this to? And actually taking that piece of art and, like, just adjusting it a little bit so that it would work well for that company.

[Stacey Bloomfield]

Yeah. Talk to me a little bit about this process, because what you've just described is a creative problem solving process, essentially, that I think a lot of artists, when I talk to them, especially ones at the beginning of their illustration and design journey, the ability to think that way strategically, to ask the right questions, to get there, it's very hard, especially if what you're starting with is just a blank screen or a blank piece of paper. So you first think about the client maybe sometimes, and then you think about their customer. And then the feeling that's one way you did it, but the other way is you created something that you loved. And then you thought about where else could this be applicable and what changes do I need to make in order to make it sell? And you are totally allowed to change parts of your art and send it to people to make it suit the client. A lot of people are afraid to do that. Have you noticed that, Brooke? They're afraid to make changes to their art for clients.

[Brooke Glazer]

I mean, I get it. I'm also afraid of change and doing things. I'm like, no, this can't work on both of these things. But yeah, absolutely. I reuse elements of things. You know, actually like some of the art that has been really good sellers for clients as something that I will also use for promoting my own things as well.

[Stacey Bloomfield]

Oh, absolutely. And that's. I do a very similar thing where I leverage my art. So, you know, I have my signature piece, that illustration, and then I can take elements of it and turn it into a repeat pattern. And it really is just about finding new ways to use that art. Sometimes we've made changes to it, sometimes we've had to change colorways, but it has a lot of legs. You know what I mean? Like, it's not just a one and done.

[Brooke Glazer]

Absolutely. You'll see. Even, like, fashion companies do that. So, like, it's not just artists that are doing this. Like, companies as well are doing this.

[Stacey Bloomfield]

So can I just go back to the trade show discussion real quick? Because it's this hard thing, because I think everyone hears the story of the company that got the big purchase order or got discovered by, like, one giant licensing company, and then they were set for life. And truth is, I was not having that experience. I've done trade shows. I did like five years of trade shows and Then we took a break during COVID and I'm actually going to Atlanta gift market in January. I did Atlanta years ago, and I did it. Kind of a last minute decision. Spent a lot of money getting my booth there. Flew up my sister and a friend to help me with the booth. And I didn't realize that my booth was actually facing the back wall next to a pillar. Whenever I booked it and we're talking, no one came to that booth. And I was like hyperventilating. Cause I was like, I'm ruined. It's over. I just blew it. I had a relatively successful business and I was licensing and selling product and no one cared about me in Atlanta is how I fel. And you know, in hindsight, I realized with the maturity, like, I was in a really bad location in Atlanta, you know, it's a risk that you take. What did I learn from it? I learned a lot. And so now I'm going back with a lot of lessons learned since then, because that was like 2018, whenever I went. And I'm going to go back and have fresh offerings, be in a better location, different product mix. And also, like, my whole identity is now not tied up in this one trade show. Means it's going to make it or break it for me, right? Because it's never one thing a hundred percent.

[Brooke Glazer]

And I think that is, like, you know, learning to deal with failure is an essential thing to deal with as a professional artist or just like an artist in general. Like, you are going to do things that do not work and you are going to take risks that in the moment at least, feel like an absolute failure. Like, I made so many embarrassing mistakes when I first started my creative business. Like, I got into a shop with my little handmade greeting cards and I was like, cool. Well, then, you know, I can just like, waltz in and bring in new product anytime, and I can just put it on the shelf. That's not how that works. You don't just, like, get into a store and then just go put more stuff in the store.

[Stacey Bloomfield]

Oh, my gosh, that's hilarious. Brooke.

[Brooke Glazer]

It was so embarrassing. I was like, oh, I didn't realize because they're like, whoa, whoa, whoa, whoa, hold on. But, like, if I had just stopped doing that, like, which I kind of did in a way, but, like, if I had just like, stopped because I was embarrassed, like, I would never move forward. Like, I was able to get into like seven stores in less than a year. I learned how things work by making mistakes. I learned how to do things better. By doing things I wasn't necessarily prepared to do. And that's obviously scarier when a lot of money is involved. But I still think it's worth it. I'm still glad that I did the trade show because I did get clients. Like, I did not have, like a blockbuster show, but I did break out more into an illustration world. I made clients that, like, didn't make me money immediately in the first year, but over time made me a lot of money. And we're amazing connections to have. You know, I think a lot of times we quit too soon when we think it's not working. And, you know, you've got to be smart about what you're doing. Like, I'm not saying, you know, there isn't a time to quit something, but sometimes things take longer than we would like to admit.

[Stacey Bloomfield]

I was talking about this with my sister today, literally, and actually I found this quote. So this quote says, lacking clarity in your decisions or circumstances reveals that you're stepping into flow. Flow, state and certainty cannot coexist, because to step into flow is to surrender to all certainty. When I discuss the concept of alignment, what I'm specifically referring to is the act of letting go and trusting that within the dark, seemingly endless void, there is some sort of safety net. The safety net might not always be what you envision safety or comfort to look like, but that's where certainty is lost. And this is by someone named Katerina Elfenu. And I will put her link in the show notes. But I found this to be like, really the bigger issue for so many creatives is if we don't feel like this gut certainty or we don't have 100% proof it's going to work. People want the step by step process, they want the blueprint, and you can follow the blueprint and still feel uncertain. And if you're waiting for everything to feel like the stars have aligned and it's perfect, you're probably still going to be disappointed in some way because it's probably, it's, it's unpredictable. You cannot have certainty. And so whenever you're looking for it, are you actually in a state where you are following your intuition and feeling deeply like what you're supposed to be doing? They contradict each other. Right? The search for perfection and the desire to flow, you can't do both at the same time. Right?

[Brooke Glazer]

You're absolutely right. And I think the other part of that is like, you can have the blueprint and you can do everything on that blueprint, but if it's the first time that you've done something, you are probably still gonna not something well. And that's like a very normal part of it. You have to look back and say, okay, here's why this did or didn't go well. This is why this did or didn't work for me. And that's a big part of, like, even if you have the blueprint, is that it's not going to go perfectly the first time.

[Stacey Bloomfield]

In fact, I think that is a part of flow state. Flow state does not mean, in my opinion, that you are perfectly aligned and everything is going to be absolutely roses. Smooth flow is when you're on the right going the right direction, perhaps, and you have put down some resistance. You're, like, letting go of some of the resisting things that might keep you from getting there, but that also still means that there are going to be obstacles along the way. I just launched something, and two days into the launch, I realized, like, I have to change what I'm doing and what I'm saying and how I'm saying. And I've been doing this for a very long time, and it feels sometimes like wasted energy. But if I hadn't created the first iteration of that and then launched with it, even though I wasn't certain, then I started getting feedback from all sorts of customers and emails. And then from that, I'm like, okay, I have more data now and I'm going to change a little bit. And in the end, it all worked out really well. But sometimes that will happen. You can prepare and try to do everything just right, and you still get out there and send that pitch email and it doesn't land or create the product and no one buys it. But do you stop right there? No. You find new ways to bring that art to life or to share about it or to market. Right.

[Brooke Glazer]

And I think that's a lot harder for beginners because, you know, when you get to a certain size, your feedback loop happens faster. Right. What if nobody likes anything on Instagram? Nobody sees what you're doing? What if nobody responds to your pitch emails? Like, how do you know? Why didn't this go well? Right. So one of the programs that I have is called the Illustrator's Launchpad. And we help artists learn how to make good art because that's kind of the basis of it. Like, you don't have to have piles and piles and piles of art. Whatever you do have does need to have some level of charm, does need to have some level of appeal. If you yourself wouldn't buy the thing that you've made, why would anybody else? Right? And so that can be a hard thing to do, is learning how to make something that looks really good on your own if you don't have some sort of feedback loop. And I think that's true of, like, not just like art making, but also like business. Like if, if you are like beginning to start a business, get surrounded by other people who are trying to do the same thing, because then you can learn from their mistakes. You know, like, if you can't learn from your own mistakes because you're not getting feedback, at least the more of you there are, the more that you can learn together.

[Stacey Bloomfield]

That's exactly true. And that's why being intentional with who you surround yourself with and who you're taking advice from is very important. If you don't have the natural feedback loops coming already, because you're a beginner, then you need to get with people who've already been down that path and ask for feedback and they'll give it to you. And there's a lot of places you could find it. You could find it with Brooke. At the Illustrator's launchpad, my team and I are always talking about, like, how do you teach people? And this, I hope this sounds right, but how to have good curated taste. Because you don't want to say someone has bad taste. That's not what I mean. But like, whenever you are creating art for product to sell, let's say, whether you're licensing or making the art for your own products, truly what you're trying to do at the end of the day is like, create it in such a way that it appeals to an audience and that requires, like, some level of taste or alignment with a certain audience. So how do you teach that?

[Brooke Glazer]

Or at least like, knowing why does this piece of art that I love look good and why does, you know, this other piece? Like, I could just scroll past and like, sometimes this is easier to identify with other people's work than your own. Because we get so attached to, like, you know, we drew this thing and we feel so, like, in love with it because we spent all this time and poured this energy into it. And so that can be kind of difficult to see, like, from a distance. So that's a big part of, like, what I teach in the Illustrators launchpad is like, what you can do to make your art. The colors look good, the. The style look good, the composition look good. Like, there's all these, like, elements that, like, you know, are really practical step by step. And actually, I Do have, like, a free training that we can give to your audience. It's the beginner's guide to drawing anything. And it kind of outlines, like, the really important, like, blocks of. Of the things that you should be paying attention to that will really make a big difference in how good your art looks, but also how long it takes to make. Oh, yeah, we only have so much time to make art, right? Like, I wish that I had even more time and this is like, literally my job. I get to spend a lot of time making art and I still, like, only have so much time. We only have so many hours in.

[Stacey Bloomfield]

The day sometimes life is just so busy with other obligations and work. But, like, yeah, I can draw art quickly because I've spent 15 years learning how to draw. And I think, like, as we kind of wrap things up, the fundamentals of drawing, I think a lot of people jump straight into surface, pattern design, product development, and that's fine, but it probably will take you longer to finesse and have that art that gives you the feeling that you have when you look at someone else's art that you admire. But understanding the basics of how to draw anything really does set you forward to be able to create. Create beautiful art that really feels like a, ah, an exhale whenever you look at it at the end.

[Brooke Glazer]

So yeah, and there's actual methods behind that, right? Like, there are, like, things that you can do to get better, faster, and like, learn how to draw what you want and get this idea in your head onto the paper in a much more predictable way so that you can more often be saying like, ah, like, I feel really good. There are like, definitely methods that can speed that up for you.

[Stacey Bloomfield]

So. And Brooke has some of those methods. So y'all go check it out. Where can people get that guide?

[Brooke Glazer]

So you can check out my website, which is just brooke glazer.com and also I'm on YouTube, so there's a lot of free resources there as well.

[Stacey Bloomfield]

Thank you for sharing so openly about your trade show experience. I think it's going to help a lot of people know that, like, sometimes you will make expensive mistakes, but they're not lost. You learn from them. And like you said that very first glance quote, like, everything is just like a learning process unless you only do it once. Right.

[Brooke Glazer]

Failure is just research unless you never try again.

[Stacey Bloomfield]

Beautiful. And on that note, thank you so much, Brooke, for being here today. Thank you for tuning in for another episode of the Art plus audience podcast. Thank you so much. And we'll see you in the next episode. Bye. Thanks so much for tuning in. Hey, could you give me a favor? Could you subscribe to this podcast and then share it with one of your best art friends? I'd really appreciate it. And then head on over to Instagram and follow me at the Leverage your art account and you can keep up with all of our future episodes. Thank you so much for your support. It means everything to have you here listening and learning.

[Brooke Glazer]

Bye.